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Aug 10 12 6:20 PM

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With Nagel's artwork now getting into its third decade, more and more issues of preservation and restoration have been brought up in various posts across the forum.  It makes sense to have a dedicated thread for those forum members and guests looking for a single topic related specifically to their Nagel serigraphs and originals.
This topic is for all matters related to best practices and advice for the following:

  • Protection (aka "Conservation") Framing and Components
  • Storage of Artwork
  • Shipping of Artwork
  • Restoration of Artwork
  • Best & Worst Environments for Framed Art (e.g. sunlight, humidity, artificial light)
  • Types of Damage
  • Handling and Supplies
Please post your questions, answers, resources, examples, and stories (both success and horror) in this thread.  As with all things related to the visual arts, images are usually very helpful, particularly before and after examples for restorations.

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enzo

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#1 [url]

Aug 11 12 12:35 PM

To start off, I would interested in hearing if anyone has any horror stories about cracking due to rolling & tubing. I am about to do this with a print, albeit in a monstrous 12" tube at Nagel-Angel's recommendation. So far, I've heard that it is o.k. to do with Nagel prints, but I can't put a number on the small probability of damage unless I solicit opposing views.

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#2 [url]

Aug 11 12 8:04 PM







Enzo needs to hear other opinions other than mine on this, but I am going to go ahead and start with a few thoughts and hope others chime in as well.

I have had Nagel prints damaged coming to me both shipped flat and shipped in a tube.  

One person shipped a print flat and did not make sure all the surfaces were the same.  They used cut up cardboard boxes with various levels of thickness, bends, and layers.  When I opened up the packaging, "Sushi Girl" had been essentially embossed by the areas that were thicker than the others.  She had an indentation running vertically down the whole left third of the print.

For Nagel, I would say whether to ship flat or rolled is on a case by case basis.  Generally, my experience is that all the larger prints, save "Joan Collins" have shipped rolled just fine in the very wide, 10"-12" diameter tube.  If there is any risk, is seems to be that folks do not fill the slack on each end with sufficient bubble wrap or padding to remove any extra space and provide the print's edges cushion should the tube get slammed one way or another.  Or they don't put enough padding period.

The other thing is that I would roll the print in Kraft of Glassine tissue that extends beyond the edges, which can be bought in rolls at various art supplies stores and dickblick.com
http://www.dickblick.com/products/glassine-interleaving-paper/?clickTracking=true#photos

Glasine is also great for storing your prints.  It is designed to be pH neutral and also to block any acidic or base pH from penetrating to reach the protected print.  It is almost like wax paper.  One thing to be mindful of is do not crinkle it, as it is stiff and could scuff your print's pigment.  Just use sheets without crimping in it..  For shipping preparation, I would lay down the 36" wide roll, and put the print down on top of it and have a couple of inches overlap on one end, fold that over, and then roll the print up so it prevents the edge of the print from scratching the pigment on the inside of the roll, and also so there is Glassine extending past the now rolled print on each side so it is slightly protected from being crimped, provided you also pad each side of the tube.

"Joan Collins" is the only Nagel I have that seems like it is almost on illustration board and I would never attempt to roll that print, even in a 12" diameter tube.

For Nagel's smaller, 17" x 25," prints, I think it is best to ship them flat.  Jeff Wasserman used heavier weight rag for the hand signed and numbered prints than for the signed in screen, and I would image a print as old as "Mirage Ship" or "Mother Earth's Paris" would risk pigment cracking if rolled.

For this reason, I created a flat shipping folio that I have used many times.  When I bid on an auction, I ask the seller if I can ship them the folio to put the print in.  They have uniformly been appreciative of this and I have yet to get back a print with any damage from transit this way.  (One seller even asked me if he could buy these folios after he got it and put my just won print in it.)
Here are some photos:

I bought double wall cardboard flat sheets from Zepak.
http://www.zepak.com/products/boxes/pads/

Since most Nagel life time posters are 17" x 25," I made the folio 22" x 30" so the print stored on the side has a couple of inches on each side in case the cardboard gets dinged.

I cut the sheets of cardboard alternate ways, so the fluting would not make it more prone to bending side ways or top to bottom.  There are four layers of double wall cardboard, two on each side.

Then for the two innermost sheets closest to the print, I used acid free foam core.

I basically stacked them all together, cut it like a deck of cards, and then started taping up the sides of each half with threaded shipping tape.  I ended up with two, three layer thick halves.

I set them side by side, and taped it on the inside, like the spine of a book, and then closed it like a book, and really taped up the outside left side like a book spine.  Just to make it clear to sellers, I also used cloth like black tape, so the spine side looks different than the others.

The back on the inside of the folio, I took my roll of glassine, and cut it about 36" x 60,"
folded it in half, and then inserted a 17" x 25" Nagel serigraph, and then folded over the edges
so it locks in the print, then tape down the left, spine side, so the glassine becomes something you just open like two pages of a book, insert the print, close it back and refold over the edges, and you have a very good way to ship and store your smaller prints.

I suppose one could make a super large version of this for Nagel's graphics, but I am personally so fearful of potential bending and the stacking shippers would do, that I would probably go from six layers of cardboard and foam core, to twelve, and then with the 2.5" inches in each side of the print, you're looking at a might big folio to ship.

In my folio, I also added one side of bubble wrap, but this seems like overkill, even to me.  I will say, the money I spent making this folio has paid off.  I started having prints shipped in this folio about four years ago, and it has yet to have any issues.  I do keep adding more packing tape to the outside so the whole thing is all but water tight.  The seller simply re-seals the entire edge with packing tape and it is safe and sound.

For my large graphics, I actually ordered at 12" diameter tube from Yazoo Mills and had them directly ship the tube to the seller of my "Seated Man."  He is the first of many large prints that have arrived safe and sound.  Only one large print has been damaged and it was from the tube being dropped without enough padding, so the print got crimple damage on one end.

One last thing for the moment about packing and shipping prints.  As this usually involves touching the prints, I would spend $3.99 and get some cotton gloves designed just for this purpose to put on when you touch your prints.
http://www.dickblick.com/products/soft-white-cotton-gloves/?clickTracking=true

Cheers,

NA





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#3 [url]

Aug 13 12 11:00 AM

Excellent post Nagel-Angel!   Good advice! 

As for rolling art prints, I could not find any videos on the subject.  Visually, it is easy to understand.  You need a long row of paper --preferably the glassine that N-A mentions.  You lay out plenty of overlapping paper/glassine at the beginning of, and at the end of, the roll.  Do not get cheap on the paper!  You should leave enough paper at the beginning and end of your roll to be at least the length of the print.  Start with the print FACE DOWN.  Either use a smaller tube than the one you are shipping the print in, or a long, wadded roll of paper.  Begin rolling the tube/paper roll towards the print. Do not force the roll!  Roll up the print in the paper/glassine.  At the end, you should have a print in a roll that is covered with glassine/paper. 

Here is a video on derolling a fine art print.  It generally illustrates the concept of rolling prints BUT BEWARE!  This method rolls the print face up and it is used to flatten out a previously rolled print.  This is a problem for some prints/paintings which will crack.  The best technique is always to roll the print FACE DOWN for shipping purposes:




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enzo

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#5 [url]

Aug 14 12 3:43 PM

Thanks to N-A and nagelite. This information is going to be important in caring for my Carol. I have assembled my 12" tube, acid free paper and acid free tissue. Let the rolling commence...uh..soon..

guest_guest, I am probably sending this print to Restoration by Heart, which has a 100% record restoring Nagel.

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enzo

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#6 [url]

Aug 21 12 8:53 PM

Update: did a roll on Carol and shipped Fedex overnight to Restoration By Heart. It worked!

My "inner roll" was kind of a hack job, lacking a smaller diameter tube to use. I took a roll of paper and combination rolled/folded it to make a core, which I then rolled in bubble wrap to widen, give it some hardness, and make it rounder (taping as necessary).

I unrolled a long strip of paper again, placed acid-free tissue on top (will use Glassine next time), and placed the print face-down. Folded the tissue back over the print to cover the back. Started the roll, with enough lead to cover the bubble-wrap inner roll with paper by the time it reached the print. Rolled through the print and continued through a few feet of tail. At the ends, folded the outer paper over into the bubble wrap layer and stapled around the ends to seal the print in. A "staple collision" was therefore the main route of possible damage, so the most important thing was to keep the roll tight and use a combination of tissue and paper with enough friction to keep the print from sliding along the roll.

In the 12" diameter Yazoo Mills tube, threw a ton of crumpled paper in the bottom, and put in the roll. It was not a perfect fit, so to make it tight, folded (without creasing) two large sheets of cardstock and stuck them down the side. Lots of tissue paper on top and capped it. Finally, wrote "do not stand up" on the outside. In sum, the whole thing worked well because it was elastic but not loose--it was still with normal motion, preventing the tissue from scuffing up the surface of the print, but it could absorb impacts in any direction.

Not saying this is the way to do it, but now it's on the record for those who want to improve.

enzo

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#7 [url]

Nov 1 12 10:07 PM

looking to store two NCs in a flat art shipping box. what is the better paper for preservation between the two serigraphs?

-glassine
-polyester film
-sheet of rag
-conservation matboard

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#8 [url]

Nov 2 12 5:53 AM

Between the two serigraphs, I would put a sheet of glassine?

Why?  Because it is designed to be a barrier.

Polyester film might hold in moisture, if we're thinking of the same thing.
A sheet of rag would be fine, but it is not designed to be a barrier and is more exspensive than glassine.
Ditto for conservation matboard.

I store my prints that are not framed between sheets of archival grade foam core, and if stacked with prints exactly the same size (e.g. a bunch of 24" x 36" CNs, glassine in between if the backs are not clean.  

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#9 [url]

Jan 27 13 10:03 PM




I thought I would update this thread with a cautionary tale/ only partial success: my Carol AP.
Several years ago, a framed Carol showed up on eBay with a Buy It Now price of $450.00.  It appeared to be an AP, but the matting was covering the image on all four sides.  But, I was worried on missing out on this bargain via delaying the purchase to ask a bunch of questions.  (The Auction listed no details.)

It was a gamble.  The auction had been up less than an hour when it pulled the trigger and bought it.

It arrived and everything exposed looked good, but at least 1.5 inches of image area was covered by matting on the right side.

I removed the matting to find Carol was torn in three places and bent, with pigment loss in adjacent areas.  (The other side, had minor pigment loss and micro dings on the edge of the paper with black stripe on the left.)

I really like to see the entire image; I also knew these condition issues would bother me until I tried to resolve them.  I figured, "who better than the local art museum in my local metro?"  So I contacted the art museum and they put me in contact wit their restorationist.

See agreed to see the piece and told me what she could do.  

What I got back weeks later is what you see below:


Am I happy?  Mildly.  The restorer was able to re-knit the torn paper back together and used gouache to fill in the color that had been damaged in the blouse.  
The damage no longer draws attention to itself.
From 5 feet away is nearly invisible in bright light; it is invisible in the location I choose to display Carol: in a corner that gets little light and no raking light, which seems to make the damage the most apparent.

Would I have it restored again?  Yes.  I am fortunate in Carol being such a large piece with strong clean lines, that it is not one I am prone to "pressing my nose to the [plexi]glass to admire.  Carol makes her statement strongly from across the room.

Still, this piece led me to having my AP of Nagel's Playboy 30th Anniversary taken to Restoration By Heart, who did a phenomenal job making her look flawless, even in raking light.  Granted the damage was just some odd spotting and not paper damage.

Stil the lesson learned: With Nagel, work with someone who works with Nagel or has worked on Nagels and serigraphs on thick rag in particular.  The museum restorer was very nice, but she let me know she was more of a canvas on oils specialist before she started.  At that point I was nervous about shipping it somewhere.  Now I know better.  

Cheers,

NA




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#10 [url]

May 4 16 5:49 AM

Oh, Carol

I know this is a long shot ... but does anyone know of someone who has experience restoring Nagels in the UK?

I've just gotten my hands on a beautiful carol, but she got damaged as she made her way across the pond to me.

The top half of Carol survived successfully - most of the damage is in the right hand corner, including a little tear by Nagel's signature :(

Seems like Carol's are the most accident prone if this thread is anything to go by :-)

I'm going to my local art shop to seek advice, but I thought where better to ask about the restopration of Nagels than here. Any help is gladly welcome - Thanks


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